Notes the Role of the Army in the Formation of the Nation: “El Ejército Nació Con La Patria” (23)

N o t e s

Introduction 1. I am aware that some scholars are inclined to see continuity between the policies of El Proceso (1976–1983) and those of neoliberalism. See, for example, Christian Gundermann’s Actos melancólicos . I disagree with this position, as it does not explain the role of the democratic government of Raul Alfonsín, which reinstated unions and upheld paternalistic policies. 2. José Luis Romero judiciously notes the role of the army in the formation of the nation: “El ejército nació con la patria” (23). (The army was born with the nation). 3. Francine Masiello asserts that “although members of the generation of 1837 addressed the project of nation building in decidedly gendered terms, they often suppressed the potential of women by favoring a bonding among men” (Between Civilization and Barbarism , 34). 4. “La patria” (the nation) is a feminine noun. As a female, the nation needed fathers to steer her in the right direction. 5. David Rock mentions “the disproportionately large urban middle class” (161). 6. George Mosse explains that nineteenth-century ideas of masculinity were also defined in opposition to stereotypes that were deemed inappropriate, such as the dandy, the effeminate, and other types. For more on this, see Chapter 4 . For the case of Latin America, see Beatriz González Stephan’s “Heróes nacionales, estado viril y sensibilidades homosexuales.” 7. Unlike previous decades, the 1880s saw less participation of women writers who had been active in shaping the nation (Masiello, Between Civilization and Barbarism 5). 8. Arturo Jauretche in El medio pelo en la sociedad argentina emphasized immigration as a gendered phenomenon: “La población extranjera de Buenos Aires excedió del 50% y no hay que olvidar que en casi su totali- dad era adulta y masculina, es decir, la que trabajaba, andaba por la calle y los sitios públicos” (The foreign population of Buenos Aires exceeded 50%, and it can’t be forgotten that this was almost exclusively adult males, 192 Notes

that is, those who worked and walked through the streets and through the public sites) (58). 9. Francine Masiello explains that women’s assertion of their rights led to their classification as subversive, represented in literature by the character of the prostitute and a heightened concern among women with money ( Between Civilization and Barbarism 6–7). 10. José Luis Romero states that “Las dos grandes fuerzas políticas del siglo XX, el radicalismo y el peronismo, que se identificaron con el pueblo y la nación, desarrollaron una narración del pasado que confirmaba esa idea” (The two largest political forces of the twentieth century, Radicalism and Peronism, which both identified with the people and the nation, developed a narrative about the past that confirmed that idea) (25). 11. Beatriz González Stephan notes the contradictory impulses: on the one hand, universal literacy was considered a universal and thus democra- tizing right; on the other hand, the rules favored a system based on patriarchal authority (25). 12. For instance, Eva Perón (1919–1952), who was widely popular among the working classes, was not deemed fit to be nominated as vice-president. The main opposition to her candidacy came from the military, an exclusively male institution. For more on this, see Donna Guy 172–174. 13. For an interesting discussion on the suppression of female bodies and homosexuals in the literary imaginary as a result of military authoritari- anism, see Chapter 2 of Gabriel Giorgi’s Sueños de exterminio. 14. José Luis Romero explains that one consequence of the curricular reform of 1978 was the creation of a new subject, Formación Moral y Cívica (Moral and Civic Education), one of whose goals was the valori- zation of the family (126). 15. In Manhood in America cultural historian Michael Kimmel explains that “Between 1810 and 1820, the term breadwinner was coined to denote this responsible family man” (15). 16. According to E. Anthony Rotundo, the middle-class phenomenon of modern fatherhood emerged, in the nineteenth century (70). 17. For Gutmann expressions such as “‘work,’ ‘bring money,’ ‘earn money,’ ‘support the family economically,’ ‘fulfill marital duties economically’” defined Mexican masculinity (74). 18. Jauretche describes the union of immigrant males and Argentine women as positive because it led to the normalization of marriage and the sta- bility of the family (63). 19. Writing in the late 1980s, sociologist Elizabeth Jelin noted that women were absent actors in Argentina’s sociopolitical life (27). 20. Film scholar Constanza Burucúa identifies the paramilitary thriller as an instance of change in masculinity. She includes within this subgenre En retirada (In Retirement) (Juan Carlos Desanzo 1984), Los dueños del silencio (Owners of Silence) (Carlos Lemos 1987), Revancha de un amigo (Revenge of a Friend) (Santiago Carlos Oves 1987) and Gracias Notes 193

por los servicios (Thank You for Your Services) (Roberto Maiocco 1988) (72–109). While the existence of this subgenre is in itself suggestive, I find that these films are rather restrictive as they only analyze the changes in masculinity of the repressors. 21. For more on this, see Rocha’s “Contemporary Argentine Cinema.” 22. Argentine film critic Raúl Beycero noted in 1992, “es el Mercado el que determina qué películas se hacen en la Argentina de hoy” (it is the market that dictates which films are made in Argentina today) (81). 23. The only industrial Argentine female director, María Luisa Bemberg (1922–1995), directed her last film in 1993. Bemberg achieved popu- larity by representing patriarchy in Camila (1984), Miss Mary (1986), and Yo, la peor de todas (I, the Worst of All) (1990). 24. For more on this, see Tamara Falicov’s article about Ibermedia.

1 Decentered Men 1. Adolfo Aristarain was born in Buenos Aires in 1943. His father died when he was a child. He wanted to be a writer but he found the profession too lonely and began working as an assistant director in the mid-1960s. From 1967 to 1973 he lived in Spain were he worked under several directors making popular films. He was assistant director of Daniel Tinayre’s La Mary (1974). 2. Aristarain uses the same name Bruno in his trilogy; in the first two, male characters are called Bruno di Toro. In Los últimos días de la víc- tima, Bruno is a young child 3. Oscar Domínguez Núñez and Elena María Barcellós Morante see a continuity in the characters represented by acto Federico Luppi in Tiempo de revancha (1981), Un lugar en el mundo (1992), Martín H (1997), and Lugares comunes (2004). 4. In one of his first speeches, Alfonsín asserted, “Nuestra concepción de la política social inspirada en los valores de solidaridad, justicia social y participación dará impulso a acciones de servicio para la prevención de las situaciones que provocan estados carenciales” (Our view of social policy inspired in the values of solidarity, social justice and participation will give impulse to service actions that will prevent situations produced by lack of necessities) (20). 5. The film competed with Eliseo Subiela’s El lado oscuro del corazón (The Dark Side of the Heart) to be Argentina’s entry as Best Foreign Film in the Academy Awards. When Subiela’s film won, Aristarain convinced the Uruguayan film board to present Un lugar en el mundo as the national entry, basing his claim that his wife, Kathy Saavedra—the film’s cos- tume designer—was a Uruguayan citizen. Upon becoming aware of this issue, the board of directors of the Academy Awards disqualified the entry. The film won seven awards from the Argentine Association of Film Critics (Best Actor, Best Actress, Best Director, Best Screenplay, 194 Notes

Best New Actor, Best Supporting Actor, and Best Film), a Goya award, as the Best Spanish Language Film, two awards at the Fribourg Film Festival, the Best Film at the Gramado Film Festival, the audience Prize at the Nantes Film Festival, and the Golden Seashell at the San Sebastián Film festival. 6. For an excellent article on this topic, see Alberto Minujin’s “Squeezed: The Middle Class in Latin America.” 7. In an interview Adolfo Aristarain has recognized his reliance on tradi- tional cinematic genres: “Uso los géneros para arrancar, pero inmedi- atamente me olvido de ellos. Yo siento que he escrito historias, pero no siento que alguna vez haya seguido los dictámenes o reglas del género” (I use genres to start but I immediately forget about them. I feel that I have written stories, but I do not think that have ever followed the requirements or rules of the genre) (“El estilo”) 8. In “Squeezed: The Middle Class in Latin America,” Minujin explains that “Typical middle-class public sector jobs such as teaching, nursing and clerical work, which gave the employee and his or her family access to a series of benefits, lost status, suffered deterioration in working con- ditions, as well as in their income level, relative to other jobs” (153). 9. Falicov mentions that in the early 1990s the price of a movie ticket in Argentina drastically increased (The Cinematic 84). 10. In “Telémaco en América,” Jorge Ruffinelli considers other epochal characteristics that may have marked the end of the hegemony of the letrado : “la teoría del ‘fin de la historia’ y la destrucción de los absolutos y las metanarrativa, y con ello asumieron la inquietud y la angustia” (the theory of the “end of history” and the destruction of absolutes and master narratives and with that anguish and anxiety were generated) (443). 11. For more on this topic, see J. A. Magan’s and James Walvin’s Manliness and Morality: Middle-Class Masculinity in Britain and America. 12. Gonzalo Aguilar notes that in both Tiempo de revancha and in Un lugar en el mundo , Luppi plays the part of the upright man (19). 13. I see Mario’s character delineated after Domingo F. Sarmiento whose educational project also included the intellectual development of Argentine women. 14. For Martha Mancebo, the following were trademarks of the 1990s in Argentina “Se privatiza lo social y lo politico. La acción solidaria y los compromisos globales desaparecen sin dejar rastros” (The social and the political are privatized. Solidarity and global commitments disap- pear without leaving trace) (193). 15. In a palimpsest and self-referential gesture, the name of the company is the same one that appeared in Tiempo de revancha. 16. For Hatty, men’s physical crisis “can both reflect and magnify these feelings of detachment and disconnection” (121). 17. For more on this, see my article “Contemporary Argentine Cinema.” Notes 195

18. Héctor Olivera was born in Buenos Aires in 1931. In 1956 he cofounded Aries Cinematográfica Argentina, which at first produced commercial films during the late 1960s. Scholar Tamara Falicov states that “later the studio alternated between more commercial hits such as comedies, rock concert documentaries, and thrillers, on the one hand, and more politically engaged national dramas on the other. Olivera directed and produced some of Argentina’s most well-known testimonial films, such as La Patagonia rebelde (Rebellion in Patagonia) (1974), La noche de los lápices (Night of the Pencils) (1986), and El caso María Soledad (The Case of María Soledad) (1993). These films are feature-length dramas that document social struggle and political repression in the history of Argentina” ( The Cinematic 32). 19. The rural areas are traditionally the site of the gauchos and have been represented in gauchesque literature. For more on this, see Adriana Huberman’s Gauchos and Foreigners: Glossing Culture and Identity in the Argentine Countryside. 20. Fernando Reati has also noted that the novel is “an inverted road- movie” (56). 21. The only award that the film received was the Best Actor to Miguel Angel Solá in the International Film Festival of Latin American Cinema. (IMDb) 22. For Néstor Ponce who has studied both the novel and the film, one of the regions that is depicted in Una sombra is the prairie, the pampas . 23. For an excellent summary of these events, see Patagonia: A Forgotten Land. From Magellan to Perón , pages 316–336. Osvaldo Bayer (1927–) also wrote La Patagonia rebelde (Rebellion in Patagonia) (1972) chron- icling these events. The book was adapted into a film of the same name (1974) directed by Héctor Olivera. 24. One of these scientists, Ronald Richter, promised to develop nuclear energy on the Huemul Island where he set a laboratory, but his experi- ments proved to be a fraud and he lost Perón’s support in the early 1950s (Brebbia 342–351). 25. Militants of the Ejército Revolucionario del Pueblo (Revolutionary Army of the People [ERP]) and the Fuerzas Armadas Revolucionarias (Revolutionary Armed Forces [FAR]) were jailed in Trelew, a city in Patagonia. They made a spectacular escape in 1972, but nineteen of them were later recaptured by military authorities and shot. As a consequence, only three survived. This event, known as the Massacre of Trelew, continues to stir emotions even today since the victims were murdered in cold blood. 26. Referring to the Conquest of the Desert, Chris Moss states in Patagonia. A Cultural History : “Yet conquest did not lead to the peopling of Patagonia. The campaign was financed by prior land sales, and some twenty million acres of land snatched from the tribes was shared out between 381 speculators and military bigwigs” (177). 196 Notes

27. For more on trains as symbols of modernity, see Rocha’s “Middle-Class Rebellion in Two River Plates Movies: A Shadow You Will Soon Be and The Last Train ” 5–6. 28. Coluccini’s last name alludes to Italian immigration to Argentina. Adriana Corda, who has studied the representation of these immigrants in Argentine literature, states that “La ficcionalización de la inmigración italiana deviene escritura de la memoria que busca las raíces culturales que identifican tanto a la comunidad como al individuo mismo” (The fictionalization of Italian immigration pertains to the writing of memory that looks for the cultural roots that identify both the community and the individual) (169). Thus, he is a character who acts as a bridge; he remembers but has nobody to pass his memories to. 29. The topic of Peronism has been a central theme in Osvaldo Soriano’s No habrá más penas ni olvidos (1982) and has been widely studied by literary critics (Carbajal; Punte; Fabry). 30. For more on the picaresque in Una sombra ya pronto serás , see Rosana Díaz Zambrana’s “La carretera es la vida” and my article “Middle-Class Rebellion in Two River Plates Movies: A Shadow You Will Soon Be and The Last Train.” 31. Hugo Hortiguera reads the allusion to “Caminito” as a possible search for a viable exit to Argentina’s problems (La literatura 200–201).

2 Absent and Surrogate Fathers 1. Caballos salvajes won the Special Recognition Award in Latin American Cinema in the 1996 Sundance Festival and was chosen for the prestigious New Directors/New Films series at the New York Museum of Art. 2. Aníbal Ford and Jorge Elbaum coined the term “info-tainment” for the frivolous use of mass media during Carlos Menem’s terms in office (1989–1999). 3. Referring to Law 24,377 approved in 1994, Octavio Getino explains that State subsidies “eran proporcionales a los ingresos obtenidos por entradas vendidas” (were proportional to the income generated by tick- ets sold) (183). 4. Horacio Bernardes, Diego Lerer, and Sergio Wolf include Piñeyro among the “industrial auteurs” because of his use of classic narrative models that derived from American films (119–120). 5. Aída Bortnik wrote the screenplay for La historia oficial (The Official Story) (1983) and Tango feroz. 6. Even though the plot presents universal problems, rebellion against cor- porate culture is a key feature of the first American road movies of the 1960s like Bonnie and Clyde (Arthur Penn 1967), Easy Rider (Dennis Hopper 1969), and Midnight Cowboy (John Schlesinger 1969). 7. “The first cinema I knew was not Argentine cinema, but American, and particularly genre films: adventure films and war films. I really like the Notes 197

cinematic genres and I lean on them to make my own movies.” Interview “El cine norteamericano actual me parece tonto” (My translation) 8. Philip Loy advances this thesis in his Westerns and American Culture 1930–1950 by showing how Westerns from a post-Depression United States reflected concerns present in American society. Among these concerns, Loy highlights tensions generated by American involvement in World War II. 9. Several scholars of Westerns acknowledge the malleable features of the Western vis-à-vis American politics and society. In addition to Philip Loy, John Lenihan and Jim Hitt also divide these films according to their date of production, either before or after 1950. According to Lenihan, Westerns produced after 1955 simultaneously depicted and debated American foreign policy participation, first in Korea and then in Vietnam. In addition, during the 1960s, Westerns confronted the same issues that were at the forefront of the civil rights movement. 10. Ford and Elbaum also referred to the two opposing sides of Argentina in the 1990s: “For those sectors that have always dreamt of Argentina’s full inclusion in the geopolitical order, Menemismo has been a godsend. Its grand celebration—‘pizza with champagne’—expresses the triumph of that strategic subalternity which figures that the closer one gets to the centers of geopolitical power, the easier it is to access their privi- leges” (4). 11. In a speech on January 28, 1993, President Menem asserted that “La Argentina está modernizándose” (Argentina is modernizing). 12. For an in-depth analysis of Menem’s rhetoric during the 1989 political campaign, see María Fernanda Arias’ “Charismatic Leadership and the Transition to Democracy: The Rise of Carlos Saúl Menem in Argentine Politics.” 13. Carlos Menem, speech on July 8, 1992 (My translation). 14. Regarding the city-country opposition, Lenihan asserts that “Western movies, also contrasted the rugged hero’s freedom and natural virtues with the ordinary or artificial quality of the townspeople” (14). 15. In his study of Patagonian depictions in Argentine cinema, Juan Carlos Portas asserts that “El filme mostró patagónicos alegres y solidarios y de bondad inmune a egoísmos y perversidades propios de la época, en marcada idealización para distingos entre bondades provincianas y maldades porteñas” (The film showed happy, helpful and well-nature Patagonians without the selfishness and perversities of the time in sharp idealization to distinguish between provincial kindness and the vicious- ness of Argentina’s capital) (85). 16. José talks briefly about his dead son. The audience learns that he was murdered in the 1970 and was thus probably a “disappeared,” a victim of the State-sponsored repression during the most recent military dictatorship. 17. In the Western Hondo (John Farrow 1953), Hondo (John Wayne) asks “What man does not want a son? What man wishes to die and leave no man to carry on?” (Mitchell 197). 198 Notes

18. The name José also alludes to Jesus’ father and the biblical family. 19. This is a moment that signals Rodolfo’s performance of a hegemonic masculinity For Žižek, fetishistic inversion discloses the performance of an authority figure and that realization undermines its power (33). 20. In Cenizas del paraíso (1997), another film by Piñeyro, both actors Daniel Kuzniecka (Rodolfo) and Leonardo Sbaraglia (Pedro) perform as brothers. 21. The off-screen presence of the powers to whom Rodolfo reports under- scores their cowardice as they do not face the screen or, as said in Spanish, “dar la cara.” They remain protected and at large. 22. For more on this, see Silvio Waisbord’s article “Scandals, Media and Citizenship in Contemporary Argentina.” 23. Žižek explains that “For Bentham, the horrifying efficacy of the Panopticon is due to the fact that the subjects (prisoners, patients, schoolboys, factory workers) can never know for sure if they are actually observed from the all-seeing central control tower—this very uncer- tainty intensifies the feeling of menace, of the impossibility of escape from the gaze of the Other” (92). Thus, the subject is turned into an object that is seen and monitored by an Other. 24. Regarding the relationship between the media and ratings, Beatriz Sarlo asserts that “Today the market completely defines the character, aesthetic and ideology of the audiovisual sphere” (4). 25. Their song “Que la tortilla se vuelva” is an anarchist song belonging to the Spanish Civil War (Panzetta 87). 26. In The History of Sexuality , Michel Foucault reminds us that sexual aus- terity “was an elaboration of masculine conduct carried out from the viewpoint of men in order to give form to their behavior” (23). 27. For Calvin Thomas, the “tropes of legality and rupture—contract, negotiation, settlement, breach—resonate with the works of Lacan and Kristeva” (31). 28. In an editorial article on March 21, 2011, in La Nación about money laundering in Argentina, the author explains that “El Poder Ejecutivo Nacional debe asumir que el lavado de dinero constituye un complejo problema criminal con consecuencias devastadoras para los sistemas económicos, políticos y en la seguridad de los Estados. Sancionar nor- mas claras e implementar controles eficaces permitirán confluir los objetivos de varias políticas públicas: la lucha contra el narcotráfico, el tráfico de armas, de personas, el contrabando, la corrupción, el crimen organizado, y también la intención de incorporar al circuito formal a vastos sectores marginales de la economía” (The National Executive Power must understand that money laundering constitutes a complex criminal problem with devastating consequences for the economic and politic system and for the security of the States. Passing clear laws and implementing efficient checks will allow the realization of the objec- tives of several public policies: the war against drug traffic, arms traffic as well as the traffic of people, smuggling, corruption and organized Notes 199

crime and also the intention of integrating large marginal sectors of the economy to the formal circuit) (Lavado de dinero) 29. José’s demise may also be understood as the ultimate instance of his control over his own body. In allowing others to kill him, he is letting go his own corporality. 30. For Lawrence Van Gelder, reviewer of the New York Times, “the broader appeal of the film grows out of its perceptive depiction of relationships.” José María Caparrós Lera also provides positive comments: “Con un guión original perfectamente estructurado, en el cual han colaborado los propios protagonistas, en las relaciones y los discursos—medidos y transgresores—de ésto esta uno de los grandes valores artísticos de la película” (With a perfectly structured plot, in which the protagonists themselves have collaborated in relationships and discourses—measured and transgressive—this is one of the greatest artistic merits of the film). Nonetheless, the Spanish critic also adds: “Si hay algo que recriminar a la pieza de Adolfo Aristarain es su excesiva ambición conceptual” (If there is something to critique about Adolfo Aristarain’s piece, it is his excessive conceptual ambition) (219). Argentine critic David Oubiña remarks that “a father’s preoccupation for his adolescent son makes the plot a mere accumulation of advice about life and moral lessons. The dialogue becomes exasperatingly explanatory, the characters are stereo- typed and the story is absorbed by common places” (175). 31. In an interview with Lorena García, Aristarain admits “El origen de esa historia fue el maltrato que se les da a los pendejos en la adolescencia, en no tenerlos en cuenta” (The origin of the story was the mistreatment that young people suffer in their adolescence, the fact that they do not count). 32. Martín is an alter ego of Aristarain. In his book about Aristarain, Fernando Brenner explains that in 1983, the director arrived in Spain and signed a contract with TVE to produce a mini-series about detective Pepe Carvalho. 33. Aristarain worked with both of them in the shooting of Pepe Carvalho (Brenner 35). 34. Olga Lukasiv holds that Martín (Hache) centers around the search for identity of the four main characters: Martín, Hache, Dante, and Alicia (6). 35. In a conversation with Diego Lerer, Aristarain expressed concern about the public’s reception of the four characters who consume drugs. 36. Martín’s subjection to the capitalist order is evident when the producer mentions the budget of the investors/producers of the film he will direct. 37. In an interview Natalia Blanc asked Federico Luppi whether his vision of Argentina when his character expressed that it was unhealthy to live there. Luppi replied: En aquel momento, 1997, muchos argentinos teníamos la sensación de que había demasiadas cosas groseras en el manejo de la política, 200 Notes

demasiada fiesta, ferrari testarrosa, viajes, demasiados impresenta- bles en puestos claves y mucho cinismo. No teníamos una esperanza excesiva. Ahí tuve la sensación, por primera vez, de que era verdad que el país era una trampa como dice mi personaje en Martín H. [At that time, 1997, many Argentines felt that there were too many nasty things in the handling of politics, too many parties, ferraris testarrosa, trips, too many unqualified persons in key posi- tions and to much cynicism. We did not have excessive hope. At that time, I felt for the first time that it was true that the country was a trap like my character says in Martín Hache.] (Blanc 77) 38. For more about the political context of the generation that was young in the 1960s, please see Silvia Sigal’s Intelectuales y poder en la década del sesenta . 39. For an excellent study of the losers in Spanish and Spanish American society, please see Ana María Sanchez Amar’s Instrucciones para la derrota . Narrativas éticas y políticas de perdedores. 40. The awards included Best Leading Actor, Best Actress in a Supporting Role, Best Film, Best Director, and Best Screenplay (Asimow and Mader 227). 41. For more on the topic of mentors in coming-of-age films, see Ashlee Headrick’s “François Duperon’s Monsieur Ibrahim : A Boy, a Man and a City Coming of Age in a Modern-Day Odyssey.”

3 Violence and Powerless Judges 1. Laura Martins presents an example of the withdrawal of the State from public life in “Bodies at Risk: On the State of Exception. (Lucrecia Martel’s La ciénaga [The Swamp] ” in Argentinian Cultural Production during the Neoliberal Years [1989–2001], ed. Hugo Hortiguera and Carolina Rocha [2007], 205–215.) 2. Grimson and Kessler have described these tensions as follows: “One is the tension between the State (Argentina) and society (Argentines) resulting from people’s increasing hostility toward the former’s ineptitude and deg- radation. Another is the tension existing between individuals (Argentines) and community (Argentina); in this view individual interests seeking ego- tistically to maximize benefits hurt the nation” (66). 3. Cenizas del paraíso won a Silver Condor for Best Supporting Actress (Leticia Brédice) and garnered nine other nominations for Silver Condors (Best Actor, Best Cinematography, Best Music, Best Editing, Best Screenplay, Best New Actor, Best Director, Best Supporting Actor, Best Film). In addition, it received awards at the Havanna and Lleida Film Festivals and a nomination at the San Sebastian Film Festival. 4. Here I am referring to the Law of the Final Period (December 24, 1986) and Due Obedience (June 8, 1987). 5. For more information about media coverage of the crimes in the last year of the Menem government, see Andrew Munro’s “Telling Notes 201

Trials: Whodunit and How Iis Told? The Belsunce and Patton Cases, Argentina and Australia,” Hugo Hortiguera’s “El folletín delictuoso argentino: Discurso periodístico y géneros populares en los umbrales del nuevo milenio” and Silvio Waisbord’s “Scandals, Media and Citizenship in Contemporary Argentina.” 6. When the police were closing on him, Yabrán shot himself. However, this case was not closed then since his disfigured face could not be identified. 7. On March 20, 2006, in an articled La nación published (entitled “Escándalos en la justicia”) the perception generated by the Argentine judiciary was described in the following words: “Según la última med- ición del índice de confianza en la justicia (ICJ), presentado por el Foro de Estudios sobre la administración de Justicia (Fores), la Escuela de Derecho de la Universidad Torcuato Di Tella y la Fundación Libertad, en noviembre de 2005. el 81% de la población argentina cree que la Justicia es ‘poco o nada honesta.’” (According to the last measure of ratings for confidence in the law, presented by the Foro de Estudios about the administration of Justice [Fores], the School of Law at the University of Torcuato Di Tella and the Liberty Foundation, in November 2005, 81% of the Argentine population believed that the Justice system was “little or not at all honest”). 8. The secondary role of the police may be an outcome of its infamous reputation, which has been seen by Argentines as being associated with the violence and repression of the military dictatorship. It is por- trayed in that way in Mempo Giardinelli’s novel Luna caliente (1984). Referring to this novel, Miriam Pino states that “la identificación del detective con la institución oficial introduce una relación sumamente ambigua en la novella de Giardinelli ya que el aparato de seguridad/ estado es igualmente identificable con la figura del asesino” (86). For an excellent analysis of police and policing in a recent Argentine film, see James Scorer’s “Trigger-Happy: Police, State and Violence in El bonaerense. ” 9. Gabriela Copertari expands on the notion of the disintegration of the Argentine family in Desintegración y justicia. 10. It is possible that there is a connection between the Greek ancestry of Judge Makantasis and the Greek concept of masculinity. In Manhood in the Making , David Gilmore explains that ancient Greeks “judged a man not for being good but whether or not he was useful in the role he played on the communal stage” (36). 11. In 2008, a TV series, Vidas robadas , aired presenting Astor Monsterrat, a character who similar to Yabrán was a businessman with legal and illegal deals. Coincidentally, as in Cenizas del paraíso , actor Jorge Marrale impersonated the corrupt Montserrat. 12. For more on this, see Susan Bordo’s “Does Size Matter?” 13. Florencio Sánchez’s M’hijo el dotor (1903) was a very successful play that centered around immigrants’ expectations of social ascendancy through education and work in this profession. 202 Notes

14. According to Mike Soutar, the editor of a successful British magazine for men, FHM , the essence of the twenty-something man is shaped by contradictory impulses: “when part of you wants to settle down and get a mortgage, but part of you thinks your mates are more important and you want to shag anything that moves” (Varley 1999, quoted in Gauntlett 156). 15. This set of scenes assumes a female audience who would derive pleasure from this exhibition in which men are the object of the gaze. 16. In Men in Groups , Lionel Tiger explains that as hunters, men had to rely on male bonding and aggression to ensure the success that was neces- sary for survival and the expansion of the group (Gilmore 24). 17. The central character of Vladimir Nabokov’s novel Lolita (1955), Dolores Haze (Lolita) is a sexually precocious girl. 18. In his study of media and representation, David Gauntlett mentions the image of the “ideal woman” as promoted by magazines. The opinions from several women from English-speaking countries highlight inde- pendent in attitude and attractive in looks (200). 19. Here I would like to propose the relationship of eternal present to two statements by Martín Hopenhayn about the post-1989 societies. First, the inexistence of a future where plans are realized: “All big projects are dismissed as pretentious or unrealistic” (8). Related to this, in a world in an eternal present, “attention is displaced towards the small pleasures that a world in decomposition can offer” (9) 20. As Muro confesses, “Lo tenía todo. Ahora no tengo nada” (I had every- thing. Now I have nothing). 21. Eve Kosofsky Sedgwick mentions that the “forms of power (that) are not obviously sexual. These include the control over the means of production and reproduction of goods, persons and meanings” (22) 22. Doty states that the story of Galatea and Pygmalion based on the myth of Echo and Narcissus “portrays the malfunction of the self, its inabil- ity to reach outside itself to achieve a self-regard properly developed in a sort of dialogue with the inner self and the relational others whose attitudes towards us are essential components in escaping the merely narcissistic trap” (118). 23. Gayle Rubin continues to affirm, “it is men who are the beneficiaries of the product of such exchanges—social organization” (93). 24. Doty describes Hermes as involved in commerce and law (127), the professions represented by Makantasis and Muro. Doty also adds that Hermes “is a figure for a complex, transitional time” (129). 25. Moreover, Doty describes Hermes, the patron of cooks and lawyers, emphasizing that both are serving occupations in which an individual supports someone else (126). 26. In Precarious Life: The Powers of Mourning and Violence , Judith Butler reflects on the consequences of September 11, 2001. Butler states that “Lives are supported and maintained differently, and there are radi- cally different ways in which human physical vulnerability is distributed Notes 203

across the globe. Certain lives will be highly protected, and the abroga- tion of their claims to sanctity will be sufficient to mobilize the forces of war. Other lives will not find such fast and furious support and will not even qualify as “grievable” (33). In Cenizas del paraíso , the different status of lives and deaths reinforces the fact that some lives are more important than others. The difference of human lives and deaths both challenges the notion of equality in democratic societies and alludes to the different position of individuals regarding their closeness/distance from those who oversee the monopoly of physical force. 27. Here it is important to note that Judge Makantasis fell literally and figu- ratively from justice when he was pushed from the roof of the courthouse. This fall was anticipated in indirect terms by Muro the day before the judge’s death when in a dialogue and pointing to the judge’s Greek ancestry, he says: “You, the Greeks, did not even have decadence. They fell.” 28. For Susana Rotker, “In the face of violence, logic and morality are turned upside down. They acquire a rationality that goes beyond simple demarcations of good and bad” (98) On his part, Hopenhayn mentions the fraudulent image that the State projects: “In politics, the image and claim of the nation-State, sovereign and autonomous, nevertheless continuous to reign. This makes the political image projected by the State seem somehow caricatured by its lack of control over the economic arena” (113). 29. In an interview with La Nación , Joseph Tulchin mentioned the most important problems of Argentina: “el primero es su deuda; el segundo, la fragilidad institucional, y el último, la pobreza y la inequidad social” (the first one is its debt, the second, the fragility of its institutions and the third one, poverty and social inequality). 30. The same image of children looking for food in trash bins appears in Bar El Chino . 31. Juan Bautista Stagnaro took part in the production of Camila (1984). Among his films we find Casas de fuego (Houses of Fire) (1995), for which he won the Special Jury Prize at the Havana Film Festival, the Special Jury Award at the Shanghai International Film Festival, and two Silver Condors for Best Director and Best Screenplay. He also directed El amateur (1999), Un día en el paraíso (A Day in Paradise) (2003), El séptimo arcángel (The Seventh Angel) (2003), and Fontana, Frontera interior (Fontana, the Interior Frontier) (2009). He wrote the screenplay for Las manos (The Hands) (Doria 2006) and the short El espía (The Spy) (2010). 32. Curiously, Torres’ cinematic debut was with a small part in Una sombra ya pronto serás . Torres, son of actress/singer Lolita Torres, is also a romantic singer who has had considerable success with “Diego Torres” (1992), “Tratar de estar mejor” (Trying to Be Better) (1994), “Luna Nueva” (New Moon) (1996), “Tal cual es” (As It Is) (1999), “Un mundo diferente” (A Different World) (2001), “Andando” (Going) (2006), and “Distinto” (Different) (2010). 204 Notes

33. Judge Francisco Trovato was impeached in December 1997 after the House of Representatives, in a cause led by Judge Silvia Ramond, found him guilty of accepting bribes from a company that he was in charge of investigating. Trovato fled the country and remained on the run for several months until he was captured in Rio the Janeiro in April 1998 and quickly extradited to Argentina (Youn n/p). He was condemned in 1999 for accepting an expensive dresser from Almagro Construcciones, a company that he was investigating after a five-year-old died in an elevator accident (Vales n/p). 34. Ray Surette maintains that “the future of popular culture’s crime and justice news is that popular culture will continue to merge news and entertainment and that the marketing of crime and justice will continue to increase” (xxiii). 35. In 1995, a bomb destroyed the Asociación Mutual Israelita Argentina (AMIA) leaving eighty-five casualties. In that year there was also an explosion in the Military Arsenal of Rio Tercero (Córdoba) that was thought to be intentional so as to hide evidence of the illegal sale of arms to Ecuador and Croatia. Both cases received extensive media coverage and challenged the role of the State. 36. For Kaja Silverman, the rebel or revolutionary is a form of Christian masochism (198). 37. “Cabecitas negras” was a denomination used to identify the Argentine working classes. 38. Referring to the policies of the Argentine State, Alejandro Grimson points out “La presión del Estado nacional para que la nación se com- porte como una unidad étnica resultó en que toda diferenciación o particularidad fuera percibida como negativa o, directamente invisibili- zada” (The pressure of the State to make the nation behave as an ethnic unit meant that every difference or particularity was perceived as nega- tive and directly rendered invisible) (39). 39. Here it is useful to take into account Foucault’s conceptualization of the economy of illegalities and their relation to capitalist society: “The illegality of property was separated from the illegality of rights. This distinction represents a class opposition because, on the one hand, the illegality that was to be most accessible to the lower classes was that of property—the violent transfer of ownership—and because, on the other, the bourgeoisie was to reserve to itself the illegality of rights: the possi- bility of getting round its own regulations and its own laws, of ensuring for itself an immense sector of economic circulation by a skilful manip- ulation of gaps in the law—gaps that were foreseen by its silences, or opened up by de facto tolerance” (Discipline and Punish 87). 40. Analyzing Hollywood representations of the drug war, Curtis Marez states that the “drug-war culture, in other words, is an important source of dominant and insurgent ideas about the role of the US in the global political economy” (9). Notes 205

41. The most recent leader of the UCR was Raúl Alfonsín (1927–2009), who was president of Argentina from 1983 to 1989 and shares with the character, interpreted by Brandoni, the first name Raúl. 42. Slavoj Žižek reminds us of the connection between law and violence, “‘At the beginning’ of the law, there is a certain ‘outlaw,’ a certain Real of violence which coincides with the act itself of the establishment of the reign of the law; the ultimate truth about the reign of law is that of usurpation, and all classical politico-philosophical thought rests on the disavowal of this violent act of foundation. The illegitimate violence by which law sustains itself must be concealed at any price” (225).

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I n d e x

Adorno, Theodor, 42 133 , 135 , 187–89 , 193 n3, Aguilar, Gonzalo, 13 , 17 , 194 n12 193 n5 , 199 n34 Aleandro, Norma, 19 , 75 La parte del león , 19–21 Alfonsín, Raúl R., 22 , 57 , 178 , La playa del amor , 19 191 n1 , 193 n4 , 205 n41 Tiempo de revancha , 20 , 21 , 36 , Altamirano, Carlos, 58 193 n3 , 194 n12, n15 Alterio, Héctor, 16 , 19 , 74–75 , Los últimos días de la víctima , 20 , 141 , 189 21 , 36 , 193 n2 Althusser, Louis, 23 Artear, 141 Amante de las películas mudas, El , 51 Asesinato en el Senado de la Amar Sánchez, Ana María, 143 , Nación , 53 200 n39 Asimow, Michael, 200 n40 Amateur, El , 203 n31 Asociación Mututal Israelita Amores perros , 14 Argentina (AMIA), 204 n35 “Andando,” 203 n32 A-Team, The , 100 Anderson, Benedict, 2 Ayala, Fernando, 23 Arana, Hugo, 42 Arbeles, Nicolás, 147 Balbín, Ricardo, 178 Archetti, Eduardo P., 3 , 5–6 Balcarce, Leonora, 106 Arendt, Hannah, 85 Balestri, Andrea, 91 Argentina Sono Films, 167 Barcellós Morante, Elena María, argentinidad (argentinity), 5 193 n3 Arias, María Fernanda, 197 n12 Bar El Chino , 203 n30 Aries Cinematográfica, 50 , 195 Batyi, Gastón, 24 Aristarain, Adolfo, 15–17 , 115 , 119 , Bauer, Tristán, 51 121 , 193 n1, 193 n5 , 194 n7 , Bayer, Osvaldo, 195 n23 199 n30, n31, n32, n33, n35 Bemberg, María Luisa La discoteca del amor , 19 Camila , 74 , 193 n23 , 203 n31 Un lugar en el mundo , 1 , 19 , Miss Mary , 193 n23 21 , 23–26 , 28 , 31–37 , 40 , 50 , Yo, la peor de todas , 193 n23 187–88 , 193 n3, 193 n5 , Benedetto, Leonor, 41 194 n12 Benton, Robert, 124 Lugares comunes , 193 n3 Bernardes, Horacio, 13 , 17 , 196 n4 Martín (Hache) , 17 , 73 , 106–11 , Beycero, Raúl, 193 n22 116 , 118 , 123 , 125 , 127–29 , Bhabha, Homi, 68 222 Index

Bildungsroman , 24–25 , 31 , 134 Chapman, Rowena, 126 Blanc, Natalia, 199 n37 , 200 n37 Ciénaga, La , 109 Bonnie and Clyde , 52 , 196 n6 Ciudad letrada, La , 4 , 115 Bordo, Susan, 47 , 201 n12 Clarín , 141 Borello, Rodolfo, 156 Clark, Anna, 63 Bortnik Aída, 74 , 142 , 196 n5 Cohan, Steve, 54–55 Botto, Juan Diego, 106 Collier, Richard, 89 , 181–82 Bourdieu, Pierre, 12 , 120–21 , 183 Comodines , 167 Brandoni, Luis, 61 , 170 , 178–79 , Connell, Bob, 2 , 12 , 93 189 , 205 n41 Conquest of the Desert, 56–57 , 69 , Brebbia, Carlos A., 195 n23, n24 195 n26 Brédice, Leticia, 141 , 200 n3 Convivencia , 51 Brenner, Fernando, 199 n32, n33 Copertari, Gabriela, 13 , 17 , 201 n9 Brittan, Arthur, 122 , 127 Corda, Adriana, 196 n28 Bruzzo, Alicia, 64 Coria Peñaloza, Gabino, 70 Burucúa, Constanza, 21 , 192 n20 Cortázar , 51 Butler, Judith, 68 , 202 n26 Cortázar, Julio, 156 Cortés Conde, Roberto, 56 Caballos salvajes , 17 , 73–81 , Cortés Rocca, Paola, 123 83–106 , 135 , 187–90 , 196 n1 Coyne, Michael, 33 , 105 cabecitas negras (dark little heads), 172 , 204 n37 Darwinism, 82 Cabezas, José Luis, 143–44 De Grazia, Alfonzo, 67 Caetano, Adrián, 109 De Grazia, Julio, 19 Calamaro, Andrés, 79 De la Torre, Lisandro, 53 Camila , 74 , 193 n23 , 203 n31 De la Torre, Raúl, 36 “Caminito” (tango), 70 , 196 n31 De Lauretis, Teresa, 110 Caparrós Lera, José María, 199 n30 Del Carril, Hugo, 36 capitalism, 9 , 11 , 28–32 , 39–41 , Del Río, Lorena, 25 53 , 92–93 , 102 , 104 , 114 , 124 , De Sanzo, Juan Carlos, 192 n20 126 , 131 , 134–35 , 144 , 159 , Desarrollismo, 58–60 166 , 187 detective Carbajal, Brent, 196 n29 drama, 144 Cárcamo, Silvia, 62 film, 142 Carnaghi, Roberto, 63 genre, 143 , 145 , 166 Casas de fuego , 203 n31 Día en el paraíso, Un , 203 n31 Caso María Soledad, El , 195 n18 Díaz-Zambrana, Rosana, 54 , 67 , caudillos (strongmen), 82 , 87 196 n30 Cedrón, Jorge, 19 Die Hard , 123 Cenizas del paraíso , 1 , 17 , 74 , 137 , Dirty War, 90 140–66 , 180 , 186–90 , 198 disappeared, 75 n20 , 200 n3 , 201 n11 , Discoteca del amor, La , 19 203 n26 “Distinto,” 203 n32 Central do Brazil , 14 Doane, Mary Ann, 68 César, Pablo, 51 Domínguez Núñez, Oscar, 193 n3 Index 223

Don Juan, 152 Freeman, Robert, 171–72 , 176 Dopazo, Cecilia, 97 Freud, Sigmund, 107 , 112–13 , Doria, Alejandro, 203 n31 116–17 , 137–39 , 169 , 179 , 185 Dotson, Edisol, 11 Fromm, Erich, 42–43 Doty, William, 154 , 159 , 202 n22, Frondizi, Arturo, 178 n24, n25 frontier, 31 , 48 , 51 , 56–57 , 80 , 177 Douglas, Mary, 156 Fuego gris , 51 Duarte de Perón, Eva, 6–7 , 99 , Fuerzas Armadas Revolucionarias 192 n12 (FAR), 195 n25 Dueños del silencio, Los , 192 n20 Furia, La , 17 , 105 , 137 , 140 , Dumont, Ulises, 20 167–86 , 188–90 Dyer, Richard, 37 , 54 Galettini, Carlos, 51 Easy Rider , 52 , 196 n6 Gallagher, Mark, 94 Eisenstadt, S. N., 37 Gallo, Ezequiel, 56 Ejército Revolucionario del Pueblo, Galtieri, Leopoldo, 60 195 n25 García, Lorena, 167 , 199 n31 Elbaum, Jorge, 196 n2 , 197 n10 García Canclini, Néstor, 10 , 14 , 35 , Elías, Norbert, 137–38 , 169 41 , 126 , 132 , 140 , 161 En retirada, 192 n20 Gates, Philippa, 15 , 142 , 157 Erro, Davide, 9–10 gauchesque literature, 195 n19 “Escándalos en la justicia,” 201 n7 gauchos, 5 , 31 , 87, 151 , 195 n19 España, Claudio, 51 Gauntlett, David, 202 n14, n18 Espía, El , 203 n31 Gaviria, Víctor, 166 estancias (farms), 61 Getino, Octavio, 19 , 51 , 73 , 146 , Esteban, Fernando, 116 196 n3 Estrada, Isabel, 14 Giardinelli, Mempo, 201 n8 Eugenics, 3 , 82 Gibbs, Jessie, 52 Gill, Rosalind, 125–26 Fabry, Genèvieve, 196 n29 Gilmore, David, 152–53 , 158 , 201 Falicov, Tamara, 13 , 17 , 19 , 53 , 74 , n10 , 202 n16 167 , 193 n24 , 194 n9 , 195 n18 Giorgi, Gabriel, 192 n13 Farrow, John, 197 n17 Gónzalez Iñárritu, Alejandro, 14 Favio, Leonardo, 36 González Stephan, Beatriz, 191 n6 , femme fatale , 56 , 64 193 n11 Ferradas, Carmen, 10 , 35 Gracias por los servicios , 192 n20 fiesta menemista, 53 Grbich, Judith, 181 Filc, Judith, 8 Great Depression, 171 , 190 Fontana, Frontera interior , 203 n31 Grimson, Alejandro, 139 , 200 n2 , Forcinito, Ana, 43 , 45 , 48 204 n38 Ford, Aníbal, 196 n2 , 197 n10 Grosz, Elizabeth, 174 Ford, John, 24 Guevara, Ernesto “Che,” 172 Foucault, Michel, 174–75 , 198 n26 , Güiraldes, Ricardo, 71 204 n39 Gundermann, Christian, 191 n1 Franco, Francisco, 14 Gutiérrez, María Alejandra, 13 224 Index

Gutmann, Matthew, 7 , 192 n17 Irigaray, Luce, 112 , 117 Guy, Donna, 5–7 , 192 n12 Irigoyen, Hipólito, 178 Itkin, Silvia, 156 habitus, 120 Hark, Ina Rae, 54–55 , 78 Jagoe, Eva Lynn, 51 Harris, Ian, 2 , 11 , 151 James, Daniel, 204 n37 Harvey, David, 32 Jameson, Frederic, 11 Hatty, Suzanne, 49 , 194 n16 Jaúregui, Carlos, 166 Hawks, Howard, 24 Jauretche, Arturo, 191 n8 , 192 n18 Headrick, Ashley, 200 n41 Jeffers, Thomas, 134 Hearn, Jeff, 11 Jeffords, Susan, 123 , 125 , 174 Henry, Justin, 124 Jelin, Elizabeth, 192 n19 Herederos, Los , 36 jouissance, 104 Hertzfeld, Michael, 153 Jusid, Juan José, 53 heterosexuality, 99 , 125 , 154–55 Historia oficial, La , 75 , 196 n5 Kessler, Gabriel, 139 , 200 n2 Hitt, Jim, 81 , 197 n9 Kimmell, Michael, 7 , 192 n15 Hoffman, Dustin, 124 Kirkham, Pat, 105 , 131 hombre argentino (argentine man), Kotcheff, Ted, 123 7 , 16 Kramer vs. Kramer , 124–25 hombría, 158 Kristeva, Julia, 198 n27 Homlund, Chris, 68 Kuañosky, Silvia, 108 , 111 homosexuality, 113 , 127 , 192 n13 Kushigian, Julia, 25 homosociality, 6–7 , 64 , 68–69 , 97 , Kusniecka, Daniel, 76 , 148 , 198 n20 153–55 , 181 Hondo , 197 n17 Lacan, Jacques, 96 , 198 n27 Hopenhayn, Martín, 85–86 , 131 , Laderman, David, 52 , 78 202 n19 , 203 n28 Lado oscuro del corazón, El , 193 n5 Hopper, Dennis, 196 n6 Lafforgue, Jorge, 21 Horrocks, Roger, 11 , 31 , 33 , 88 “Lavado de dinero,” 198–200 n28 Hortiguera, Hugo, 196 n31 , 200 Law 24 , 377, 13, 196 n3 n1, n5 , 201 n13 Law of the Father, 26 , 102–4 , Huberman, Adriana, 195 n19 110–11 , 113–14 , 133 Huyssen, Andreas, 100 Lehman, Peter, 54 Lemos, Carlos, 192 n20 Ibermedia, 193 n24 Lenihan, John, 81 , 83 , 86 , 197 n9, Illia, Arturo, 178 197 n14 indomables , 96 , 98 Lerer, Diego, 54 , 116 , 132 , 167 , info-tainment, 196 n2 169 , 199 n35 Instituto Nacional de Cine y Artes letrados (lettered men), 22–23 , 35 , Audiovisuales (INCAA), 36 , 40–43 , 46 , 48–50 , 106 , 109 , 167 115–16 , 118 , 121 , 194 n10 International Monetary Fund Lévi-Strauss, Claude, 160 (IMF), 9 Lillo, Gastón, 22 , 35 , 40–41 , 49 Iriarte, Alicia, 12 Liporace, Enrique, 117 Index 225

Lisica, Federico, 109 hegemonic, 9 , 72 , 75 , 88 , 93 , Lolita (Nabokov), 202 n17 122 , 125–27 , 189 López, Daniel, 24 heterosexual, 2 , 7 , 15 , 148 , 152 López, Fernando, 167 Masiello, Francine, 160 , 191 n3, lost generation, 131 n7 , 192 n9 Loy, Philip, 84 , 87 , 197 n8, n9 masochism, 112 Ludmer, Josefina, 143 moral, 179 , 185 Lugar en el mundo, Un , 1 , 19 , 21 , McGee, Patrick, 32 23–26 , 28 , 31–37 , 40 , 50 , McTiernan, John, 123 187–88 , 193 n3 , 194 n12 Menem, Carlos, 35 , 46 , 73 , 81–83 , Lugares comunes , 193 n3 143 , 196 n2 , 197 n11, n12, n13 Lukasiv, Olga, 199 n34 Menemismo, 73 Luna caliente , 201 n8 Menotti, César Luis, 190 “Luna nueva,” 203 n32 Mentasti, Carlos, 167 Lunisch, Ana Laura, 20 Meschengieser, Sebastián, 109 Luppi, Federico, 16 , 20–21 , 24 , M’hijo el dotor , 201 n13 36–37 , 101 , 106–7 , 189 , middle class, 1–7 , 15–16 , 27 , 32–37 , 193 n3 , 194 n12 , 199 n37 50–55 , 58 , 60–62 , 67–69 , 73–75 , 82 , 101–2 , 113–15 , Mackinnon, Kenneth, 96 118 , 137 , 140–56 , 161–62 , Mader, Shanon, 124 , 200 n40 165–66 , 168 , 170 , 172 , 174 , Madres de Plaza de Mayo, 8 177–79 , 187 , 191 n5 , 192 n16 , Magan, J.A., 194 n11 194 n6, n8 Maiocco, Roberto, 193 n20 Midnight Cowboy , 196 n6 Malossi, Giannino, 94 Midnight Run , 78 Malvinas/Falkland Islands, 59–60 Milanesio, Natalia, 5–6 Maly, Arturo, 20 military dictatorship, 8 , 9 Mancebo, Martha, 194 n14 Mills, Katie, 52 Mann, Anthony, 24 Minujín, Alberto, 194 n6, n8 Manos, Las , 203 n31 Mira Delli Zotti, Guillermo, 116 Marez, Curtis, 104 , 204 n40 Mirás, Fernán, 95 Marrale, Jorge, 147 , 201 n11 Miss Mary , 193 n23 Martel, Lucrecia, 109 , 200 n1 Mistral, Fernanda, 20 Martínez de Perón, Isabel, 7 Mitchell, Lee Clark, 34 , 88 , 197 n17 Martín (Hache) , 17 , 73 , 106–8 , Moretti, Franco, 28 110–11 , 116 , 118 , 123 , 125 , Moss, Chris, 195 n26 127–29 , 133 , 135 , 187–89 , Mosse, George, 3 , 174 , 191 n6 193 n3, n5 , 199 n34 , 200 n37 Moulian, Tomás, 156 Martín Peña, Fernando, 17 Mulvey, Laura, 54–55 , 155 , 187 Martins, Laura, 200 n1 “Mundo diferente, Un,” 203 n32 Mary, La , 193 n1 Munro, Andrew, 200 n5 Mary, La, 193 n1 masculinism, 122–23 , 127–28 , 130 Nabokov, Vladimir, 202 n17 masculinity Nación, La , 51 , 167 , 198 n28 , crisis, 11 , 139 , 181–83 200 n7 , 201 n7 , 203 n29 226 Index

Narcissus , 169 , 202 n22 Patagonia rebelde, La (Rebellion in nationalism, 2–3 , 5–7 , 17 , 46 , 60 , Patagonia), 36 , 57–58 , 115 , 121 , 166 , 168 , 190 195 n18, n23 nationalist, 5–6 , 9 , 82 , 147 pater familias , 8 , 22 , 38 , 47 , 74 , Neale, Steve, 55 , 64 , 153–54 119 , 161 neoliberalism, 2 , 3 , 8–10 , 17 , 18 , paternalism, 8 , 44 , 90 , 103 27 , 44–46 , 49 , 52 , 73–74 , patria, 4 , 121 , 191 n4 81–89 , 93 , 96 , 103–6 , 129 , patriarchy, 7 143 , 155–56 , 159–61 , 163 , Penn, Arthur, 196 n6 166 , 168 , 187 , 191 n1 Perilli, Carmen, 57 New Argentine Cinema, 13 , Peris Blaunes, Jaume, 21 109–10 Perón, Juan, 7 , 57 , 62 , 63 , 68 , 99 , new lad, 126 195 n24 new man, 105 , 125–27 , 134 Picado fino , 107 , 109 Newman, Graeme, 169 pícaro (picaresque), 63 , 65 , 67 , 69 , Nietzsche, Friedrich, 174 196 n30 Noche de los lápices, La , 195 n18 Picchio, Ana María, 117 No habrá más penas ni olvido (f ilm), Piñeyro, Marcelo, 15–17 , 73–74 , 36 , 53 , 196 n29 196 n4 Novoa, Laura, 170 Caballos salvajes , 17 , 73–81 , 83–106 , 135 , 187–90 , 196 n1 O’Brien, Thomas, 124 Cenizas del paraíso , 1 , 17 , 74 , Oedipalization, 116 137 , 140–66 , 180 , 186–90 , Ogando, Alejandro, 70 198 n20 , 200 n3 , 201 n11 , Olid Suero, Miguel, 36 , 106 , 178 203 n26 Olivera, Héctor, 15 , 27 , 195 n18 Tango feroz , 74 , 196 n5 El caso María Soledad , 195 n18 Pino, Miriam, 201 n8 La noche de los lápices , 195 n18 Pizza, birra y faso , 109 No habrá más penas ni olvido , 36 , Playa del amor, La , 19 53 , 196 n29 Podalsky, Laura, 107 , 109 La Patagonia rebelde , 36 , 57–59 , Pollack, Sydney, 124 195 n18, n23 Pomerance, Murray, 92 Una sombra ya pronto serás , 1 , Ponce, Néstor, 195 n22 16–17 , 19 , 50–60 , 63–65 , Poncela, Eusebio, 63 , 106–7 68–71 , 187–88 , 195 n22 , Portas, Juan Carlos, 197 n15 203 n32 porteño, 43 , 69 , 172 Osgerby, Bill, 31 Proceso, El, 191 n1 Oubiña, David, 199 n30 productive revolution, 89 Oves, Santiago Carlos, 192 n20 Puenzo, Luis, 75 Punte, María José, 196 n29 Page, Joanna, 17 Palh, Ray, 11 Quiroga, Juan Facundo, 36 , 82 pampas, 5 , 195 n22 Panzetta, 198 n25 Rain Man , 78 Parte del león, La , 19–21 Rama, Angel, 5 , 22 , 115 Index 227

Rambo: First Blood , 123 Sbaraglia, Leonardo, 16 , 75 , 141 , Ramond, Silvia, 204 n33 198 n20 Ranni, Rodolfo, 32 Scapparone, Mónica, 93 , 152 Reati, Fernando, 195 n20 Schackel, Sandra Kay, 33 Rebellion in Patagonia . See Schettini, Adriana, 119 Patagonia rebelde, La Schlesinger, John, 196 n6 Reeser, Todd, 2 , 39 , 166 Scholz, Pablo, 54 Reguillo, Rossana, 10 Scorer, James, 201 n8 Retributive Man, 123 Scott, Ridley, 99 Revancha de un amigo , 192 n20 Sedgwick, Eve Kososfky, 202 n21 Revolución, La , 36 Segal, Lynne, 88 , 162 Richetti, Marco, 91 Segato, Rita, 17 , 55 , 171 , 177 Richter, Ronald, 195 n24 Seidler, Víctor, 122 , 128 , 131 road movie, 52 , 78 , 99 Séptimo angel, El , 203 n31 Roca, Julio A., 56 Shane , 85 Rocha, Carolina, 13 , 193 n21 , Shaw, Deborah, 14 194 n17 , 196 n27 , 200 n1 Sigal, Silvia, 200 n38 Rock, David, 60 , 191 n5 Silverman, Kaja, 25–26 , 92–93 , Romance del Aniceto y la 179 , 185 , 204 n34 Francisca, El , 36 Smart, Carol, 181 Romero, José Luis, 7 , 191 n2 , Solá, Miguel Angel, 15–16 , 53–54 , 192 n10, n14 189 , 195 n21 Roth, Cecilia, 32 , 106–7 Solanas, Fernando, 14 , 19 Rotker, Susana, 203 n28 Solomon-Godeau, Abigail, 174 Rotundo, E. Anthony, 192 n16 Sombra ya pronto serás, Una , 1 , 16 , Rubin, Gayle, 160 , 202 n23 19 , 50–60 , 63–65 , 68–71 , Rubin, Martin, 140 187–88 , 196 n30 Ruffinelli, Jorge, 14 , 27 , 165 , Soriano, Osvaldo, 19 , 50 , 53–54 , 194 n10 57–58 , 62 , 142 , 196 n29 Ruiz, Chela, 147 Soutar, Mike, 202 n14 Russell, Dominique, 21 Spicer, Andrew, 144 Rutherford, Jonathan, 123 Stagecoach , 105 Stagnaro, Bruno, 137 , 169 Saavedra, Kathy, 193 n5 Stagnaro, Juan Bautista, 15 , Sábato, Ernesto, 70 203 n31 Sacristán, José, 28 El amateur , 203 n31 Salles, Walter, 14 Casas de fuego , 203 n31 Sánchez, Florencio, 201 n13 Un día en el paraíso , 203 n31 Sapir, Estebán, 107 , 109 El espía , 203 n31 Sarlo, Beatriz, 198 n24 Fontana, Frontera interior , Sarmiento, Domingo F., 31 , 82 , 203 n31 137 , 194 n13 La furia , 17 , 105, 137 , 140 , Saturday Night Fever , 153 167–86 , 188–90 Savran, David, 114 , 172 , Las manos , 203 n31 179 , 185 El séptimo arcángel , 203 n31 228 Index

Stein, Murray, 159 Últimos días de la víctima, Los , 20 , Stivel, David, 19 , 36 21 , 36 , 193 n2 Streep, Meryl, 124 Unión Cívica Radical (UCR), 178 Suárez, Juana, 166 Subiela, Eliseo, 193 n5 Vales, Laura, 204 n33 Surette, Ray, 168 , 204 n34 Valiente Noailles, Enrique, 111 Sutton, Barbara, 10 , 155 , 156 Vallejo, Gerardo, 19 Svampa, Maristella, 10 , 140 Van Gelder, Lawrence, 199 n30 Szulik, Dalia, 108 , 111 Varela, Héctor Benigno, 56 Véganzones, Marie Anne, 9 “Tal cual es,” 203 n32 Viaje, El , 14 Tango feroz , 74 , 196 n5 Vidas Robadas , 201 n11 Taylor, Diana, 162 Villafañe, Chunchuna, 19 Telefé, 167 “viveza criolla” (native wit), 67 , 172 Thatcher, Margaret, 60 voice-over, 24 , 28 , 30 , 31 , 53 , 60 , Thelma and Louise , 99 71 , 74–75 , 104–5 Thibaudeau, Pascale, 116 , 120 Thomas, Calvin, 96 , 120 , 198 n27 Waisbord, Silvio, 198 n22 , 201 n5 Thompson, Currie K., 28 , 31 Walvin, James, 194 n11 Thumit, Janet, 105 , 131 Wayne, John, 197 n17 Tiempo de revancha , 20 , 21 , 36 , Weber, Max, 11 , 37 193 n3 , 194 n12, n15 Western, 31–34 , 49 , 69 , 80–81 , Tiger, Lionel, 202 n6 83–88 , 105 Tinayre, Daniel, 193 n1 Winograd, Carlos, 9 Tomasulo, Frank, 124 Wolf, Sergio, 13 , 196 n4 Tootsie , 124–25 World Bank, 9 Torre, Pablo, 51 Torres, Diego, 63 , 167 , 170 , Yabrán, Alfredo, 143 , 144 , 203 n32 201 n6, n11 Torres, Lolita, 203 n32 Yo, la peor de todas , 193 n23 Tranchini, Elina, 58 Yo maté a Facundo , 36 “Tratar de estar mejor,” 203 n32 Youn, Gerardo, 204 n33 Travolta, John, 153 Trovato, Francisco, 167, 204 n33 Žižek, Slavoj, 74 , 84 , 90 , 102–4 , Tulchin, Joseph, 203 n29 198 n23 , 205 n42